The first English language monograph on one of the most important figures in the history of modern Japanese photography. Nojimas works range from kaiga shugi shashin (pictorial photography) to shinko¯ shashin (new/straight photography) of the early twentieth century. His earliest photographs are characterized by a density and heaviness echoing that of pictorialism, based in his subtle sensitivity and the pigment printing process, the mainstream printing method of that time. In the 1930s, his style takes a drastic turn under the influence of new trends in German photography, shifting toward cropped gelatine silver prints in pursuit of a form of expression that is unique to the medium. Nojima was also known as an enthusiastic art lover, opening a gallery called Kabutoya Gado¯ (1919-20) in the Jimbo¯-cho¯ district of Tokyo at his own expense, holding exhibitions of works by up-and-coming artists especially those of the Shirakaba-ha (White Birch Group), a literary movement that included artists such as renowned painters Umehara Ryu¯zaburo¯ (1888-1986) and Kishida Ryu¯sei (1891-1929) in the salon located in his own home, and acting as a patron for these artists. As an advocate of contemporary art of his time, Nojima not only ran a gallery but also took photographs of artworks for their publication in art magazines and monographs.
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